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Complete Piano Music Vol.4 (Preview)

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Music by Douglas Lilburn | Piano

138 ‘cresc.’ missing

138 ‘cresc.’ missing from PMM but is present in both Jensen and ATL so has been added to this edition. 161 R.H. Jensen has quaver rest/quaver chord/quaver rest/quaver chord rather than the syncopated notation Lilburn approved in PMM. 164–71; Lilburn’s earlier notation in Jensen (which is possibly more consistent with the rest of the movement) preserves the line in the L.H. and places rests into the R.H. However, we have kept the notation of PMM and ATL (notated in quavers with a single beam and stems across both clefs), which was presumably a later thought by Lilburn. 174 Jensen and ATL both marked ƒ rather than ‘∑ cantabile’ as in PMM. Coming after a crescendo hairpin we believe that ƒ is probably correct. 176–80, 181–5, 186–92, 193–7; The long slurs in both hands are missing from both Jensen and ATL. 198 PMM is marked ƒ whereas ATL is marked ∂. Jensen has no mark at all. 212–17; Slurs in both hands present in Jensen but missing from ATL and PMM. They have been added in this edition. 219 ∂ missing in both Jensen and ATL. 222 ç is missing in both Jensen and ATL. R.H. quaver chord has a lower octave B added that is missing from Jensen but added faintly in pencil in ATL. 225 R.H. quaver chord has a lower octave E added that is missing from Jensen but added faintly in pencil in ATL. 228 R.H. quaver chord has a lower octave A added that is missing from Jensen but added faintly in pencil in ATL. 241 Both Jensen and ATL have a ° marked here held for four bars. 245 Jensen and ATL repeat the ∂ marking of 241. 249 PMM has ∑, Jensen and ATL both have ∆. 252 PMM has ∆, Jensen and ATL both have π. 256 PMM has π, Jensen and ATL both have ø. 259 Jensen and ATL have indication ‘perdendo’. Original 2nd movement (Appendix) 69 L.H. 2nd quaver chord, the flat sign to D is clearly intended for the B. 87 R.H. 3rd beat slur added to the two quavers to match all other appearances. Prelude (1948) The copy-text for this edition is Lilburn’s holograph in the Alexander Turnbull Library, Wellington (MS-Papers-2483-014). 1 beats 3 to 4 slur added above R.H. and under L.H. to match beats 1 to 2. 6 L.H. The inner part follows the R.H. down to F/AÏ (in the ms this part remains stationary on GÏ/BÏ). ‘Short Piece’ (1965) The copy-text for this edition is Lilburn’s holograph in the Alexander Turnbull Library (fMS-Papers-2483-044). 21 The final chord is hard to read in Lilburn’s ms but seems likely to be G Í / C Í / F Í as in bar 6. 22 Gh time signature added. 23 Hh time signature added. ‘Untitled Piece’ (1965) The copy-text for this edition is Lilburn’s holograph in the Alexander Turnbull Library (fMS-Papers-2483-052). The holograph has the appearance of a rough draft, however, Lilburn has provided detailed dynamics and pedal marks, essential to any performance of the piece, which are preserved in this edition. Where Lilburn placed the dynamics in brackets we have retained the brackets. The piece has no time signature. The barlines in Lilburn’s manuscript, preserved here, are indicative of structure rather than rhythm. Bar numbers have been added. The ° indication under a pause mark is as in the composer’s ms, seemingly indicating a sort of breathing space. 2 The π in the L.H. second CÍ quaver appears one crotchet later in the ms where notes have been crossed out, however, it seems likely that Lilburn intended to retain the dynamic. PEL04 – x

7 There is no pause indicated at the end the bar but, because Lilburn probably intended one here, we have provided it in editorial brackets. 8 Lilburn writes ‘AÍ ’ above the last semibreve chord to clarify a slightly obscure middle note. ‘Untitled Piece’ (1981) The copy-text for this edition is Lilburn’s holograph in the Alexander Turnbull Library (fMS-Papers-7623-20). There is no time signature and bars (indicated in the ms by a line between staves) are of unequal length; our edition has used barlines of normal length. The ° indications are in the composer’s ms. A Musical Offering (1941) Lilburn seems to have copied, or had copied, various Preludes for friends or performers at different times. Some minor discrepancies occur between them but rather than list every minor difference we have used as our copy-text Lilburn’s holograph in the Alexander Turnbull Library (fMS-Papers-3983-1), with reference to a holograph of the Four Preludes previously owned by Gordon McBeth. It is worth noting, however, that in a copy of Five Preludes (not in the composer’s hand), including the four in this collection and one from the 1942 Christmas pieces, which he gave to Hepzibah Menuhin in 1953, there are no metronome marks for our Prelude No.2 of Œ = 44, and our Prelude No.3, ‘Grave’, is marked ‘Moderato Œ = c.112’. has been added in our edition. 21, 22 McBeth has ‘allargando’ which has been added in our edition. Four Preludes No.4 1 McBeth is marked π, we have retained ATL ∆. 7 McBeth has ∆, we have retained ATL più ƒ. 11 R.H. McBeth has staccato dots to four quavers which we have added in our edition. 13 McBeth has ‘dim’. 21, 22 McBeth has slurs as in bars 2/3 which we have assumed to be correct. 30 McBeth has staccato dots added as in bar 11 which we have added in our edition. 32, 33 McBeth has the two final chords both marked ƒ which we have added in our edition. Musical Box No.2 1 We have added ‘dolce’ to concur with Lilburn’s marking for Musical Box No.1. These lighthearted pieces were clearly intended for performance by the composer and his friends and it is likely that dynamics differed with each performance as the mood took them. Rod Biss, Auckland, 2015 Four Preludes No.1 49 Lilburn’s ‘niente’ changed to ‘dim al niente’. Four Preludes No.2 5 L.H. minim F on 5th beat is not tied to crotchet F in next bar in McBeth holograph. 16 McBeth has ‘allargando’ which has been added in our edition. Four Preludes No.3 4 McBeth has ∆, we have retained ATL ∑. 13 McBeth has ‘dim’ on 2nd beat (leading to ππ in the next bar) which has been added in our edition. 20 McBeth has crescendo hairpin beats 3 and 4 which PEL04 – xi

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